Wonder Woman
by Attitudepnay678
Summary: EDITED & UPDATED: added description/dialogue and new scenes 3/26/10 The world is seeing an escalation of violence. When the violence spreads to the shores of the secluded island of the Amazons, the Queen must send a champion to Man’s World. AKA WW script
1. Chapter 1

To my readers: I have made small but significant changes to the story, influenced by the Wonder Woman animated movie and Wonder Woman television series. Feedback, especially on specific scenes, is greatly appreciated. I'm still learning how to write a screenplay, so the latest chapters will be continually reworked; expect changes soon.

* * *

**Wonder Woman**

_Written by Joanna Salem_

Based on DC Comics characters created by William Marston and stories by Paul Dini (_Spirit of Truth_) and Stanley Ralph Ross (_Wonder Woman Series 1_)

* * *

EXT. THEMYSCIRA

Thunder and lightning chase an albatross rapidly descending through a dark haze.

It flies in a fury without sense of orientation or escape.

Ever determined, the seabird bursts out of its gloomy prison into a bright, expansive sky stained blood red.

It swoops toward the sea adapting its flight to the rhythm of the waves until it glides along the murky water.

_CAW_ - a warning signal.

King Poseidon replies with a roar of violent waves.

The waves crash against something tall: a pair of Amazon legs.

In her ancient battle armor clad in golden, the WOMAN (28) digs her feet into the coarse yellow sand.

Her shield and sword glisten against the flashes of Zeus's lightning.

She stands in the middle of the shallow water, patiently withstanding each blow.

The water seems endless, but a glimpse of the shoreline appears when the hunter's moon draws the waves back into the ocean.

As if by magic, the breaks of the misty water reveal the Amazons of Themyscira.

An oblique phalanx, eight ranks deep of armored spear-women, guards the beachfront.

Golden Grecian temples hug the island, ascending a lush green hillside.

On a balcony near the shore, a beautiful ebony woman grips her helmet at her side.

The fierce and valiant GENERAL PHILLIPUS (30), head of the royal guard, must lead the queen's troops into war.

She glides about the balcony with power and height. Her long, red cape billows in the wind.

The threat of destruction alarms her soul, but she stands brave—stoic as a Grecian statue.

Phillipus spies the albatross, now encircling the sky above her.

She furrows her brows in thought, for the vagrant seabird is foreign to the shores. Is the albatross an omen from the gods? If so, is it an omen of luck or of certain death?

INT. ROYAL PALACE

An unlit oil lamp sits on a table, for any fuel has been removed for use in battle.

The palace is tragically beautiful. The dark hides the classical Greek architecture, which in days of glory could rival all others.

Phillipus walks steady, undoubting, passing ghostly Amazons hastily preparing for battle.

SMASH CUT:

Phillipus bows her head before a marble throne carved with reliefs of fallen heroes.

In b.g., QUEEN HIPPOLYTA (40), the Amazons' determined leader, sits calmly contemplating.

PHILLIPUS

(sternly)

Queen Hippolyta, where is she?

The queen slowly turns toward the general.

QUEEN

(coolly)

She will come.

This was a reassuring remark not only for the general but also for the queen who was beginning to have her own doubts.

PHILLIPUS

The storm is gathering. If she does not—

Hippolyta removes herself from the throne, stepping down gently.

QUEEN

(with candor)

General Phillipus, you must have faith in her as I have in you—in all of my Amazons. Are the troops prepared?

SMASH CUT:

General Phillipus and Queen Hippolyta walk onto the balcony with high spirits.

It is still dark, but the queen's presence brings eternal light.

Phillipus takes in one last view of the beach.

It is the calm before the pending storm.

She places her helmet.

QUEEN

Phillipus, you seem almost excited.

PHILLIPUS

Not excited, ready.

As Phillipus travels down a sea of steps, she glances at the warriors camouflaged afar—the slingers, archers, and dart throwers.

Queen Hippolyta remains in the palace with another troop.

HIPPOLYTA

Today, we are not only defending our island. We are defending what it symbolizes: our livelihood, our existence.

She draws her sword, and raises it above her head.

HIPPOLYTA (CONT'D)

Let us fight with courage in our heads and fire in our hearts.

The wind picks up faster, gathering the clouds like a dangerous brew.

A shadowy figure is cloaked in the haze. The enemy has arrived, slowly encroaching the island through the enveloping darkness.

Even the lightning reveals a fleet of ships in the distance.

For the last time, Poseidon thrashes one monumental wave paralleling the enemy's rapid descent.

The Woman (mentioned earlier) remains steadfast as the wind softly pushes against her.

She raises her sword for the coming battle, while the other warriors prepare their stances.

EXT. PALACE BALCONY

The queen remains composed.

She gives Phillipus the signal: a simple head nod.

INTERCUT BETWEEN PHILLIPUS AND THE WOMAN

Phillipus looks toward the enemy.

PHILLIPUS

(slowly)

Amazons…

The Woman inhales.

The enemies lunge onto the shallow waters.

PHILLIPUS (CONT'D)

(with ferocity)

ATTACK!

The Woman exhales.

The general's cry prompts the defensive strike. The warriors on the mountainside shoot their arrows, while those on the beach run with mighty speed. All join in the battle cry.

The Woman, self-assured, remains in her place.

It is not until she has the perfect vantage point that she, with great confidence, swings her weapon.

A glimpse of the enemy lunging forward is reflected in the shiny metal of the sword: a monstrous demon.

SMASH CUT – BLACK

OPENING TITLE:_ WONDER WOMAN_


	2. Chapter 2

EXT. THE TEMPLE OF ATHENA - DAY

EXTREME CLOSE UP - MENALIPPE

MENALIPPE (30), the seer, opens her eyes, blazing with a red-orange fire.

Fresh fruit, offerings to Athena, lay bruised on the marble floor.

The fire quickly exits, cooling her irises to a clean, tranquil blue, mirroring the sky above her.

The fresh smell of flowers and olives dance through the air, but they are not enough to revive the soothsayer, who collapses, gasping for air.

IO (30) is a skilled blacksmith whose works rival those of Hephaestus. Her trip to the armory is short-lived, as she runs to Menalippe's aid.

Kneeling down, Io props her sister off the floor. She tries to wake the seer into consciousness.

IO

Menalippe, you had another vision?

Menalippe looks to Io with a burdened heart.

MENAILIPPE

It is searching, searching. It is searching through chaos. My head, my head is filled with chaos—forced to see the future. I am sorry.

She strokes Io's face, smudged with ash from working with fired metal.

IO

Sister, you must rest.

MENALIPPE

No, I must see the queen. Io, I saw—

IO

Yes?

Menalippe's words are concise.

MENALIPPE

The end.

Io is taken aback, trying to decipher Menalippe's words. The question hangs on her lips.

She is disturbed by the rumbling thunderhead beyond the hillside.

IO

We should have be in the great hall, awaiting the queen with the others. May her quest be fruitful and may her journey back home be safe.

MENALIPPE

Your wish is wasted. The queen is in the palace, the palace. There.

Menalippe wobbles to her feet, and darts away.

Io, confused and alarmed, remains frozen.

After glancing at Athena's statue, Io speeds to Menalippe's side.

IO

By Athena! Sister, you must explain. What did you see? What end?

Menalippe cannot help but accelerate her travel.

MENALIPPE

(under her breath)

Io, I need to see the queen immediately; Themyscira depends on it.

She falls against the wall, still weakened by her revelation.

Her hand brushes against a relief of the palace, smudging the picture with ash.

Ever determined, she moves forward.

SMASH CUT - CORRIDOR

INT. PALACE - DAY

Tall patterns of light illuminate a dim corridor of marble columns.

MENALIPPE

My visions are becoming more vivid, more violent.

IO

Uncontrollable.

MENALIPPE

Something foreign will threaten our shores with death and destruction.

IO

Then we will defend ourselves.

Menalippe halts. She looks to Io, and then at two colossal wooden doors.

The pair stands before the queen's chamber.

One door peeks open.

Queen Hippolyta's chamber is colorful and elegant.

The queen's muddy armor lays spread on the floor, drawing Menalippe's eyes to the balcony where the queen shapes a large piece of clay.

Hippolyta stops.

QUEEN

I have long awaited this moment.

_ZAP _— lightning strikes, surrounding the room with a golden blaze of light, flooding through the door cracks.

Io and Menalippe are moved aback.

A heart begins to pump, cheeks become warm, skin becomes flesh, and hair becomes soft.

Water trickles down the queen's face.

It begins to rain as if the gods are crying tears of joy.

A baby's cry is heard.

Io and Menalippe slowly push the chamber doors open.

MENALIPPE

(softly)

Queen Hippolyta, I—

Their faces are filled with amazement as they see Queen Hippolyta holding her newborn.

Hippolyta smiles at the pair.

She brings the child to the city center where her sisters gather. The Amazons look with awe.

AMAZON 1

It is a child.

AMAZON 2

The queen has brought us a child!

AMAZON 3

The first child born on Paradise Island.

With a primal instinct, Queen Hippolyta raises the child above her head.

QUEEN

Praise the gods. She is here. Our daughter. Our—

SMASH CUT - BLACK


	3. Chapter 3

EXT. LUSH, GREEN FOREST – DAY

QUEEN

(energetically)

DIANA.

A young girl (8) wakes the forest floor with her energetic sprint. The fresh smell of foliage and soil whirl about her feet as she blurs the tones of the earth.

Suddenly, she halts.

SMASH CUT:

Time has only renewed Queen Hippolyta, looking as ever youthful and radiant in a long lavender dress and gently curls.

She smiles joyfully as she walks toward her little girl.

QUEEN (CONT'D)

There you are.

Diana had been chasing a fawn. So far, the spry creature has evaded all her efforts.

However, ever relentless, the impish child readies her stance before the fawn.

In a preemptive strike, Diana rushes forward.

She loses her balance, and slips.

The victorious fawn leaps away.

As Diana slips, she knocks down a large tree with strength that would challenge that of Heracles.

She frowns, disappointed at her failure and embarrassed by her bumble.

QUEEN

Diana?

Diana hides behind her midnight locks, looking away from the queen.

DIANA

Mother?

The queen reaches for the child's small hand.

Although Diana stands, her eyes remain down at the tree.

The queen lifts the girl's chin until she looks at her mother with deep, azure eyes, deeper than the clear waters surrounding their island.

The queen leads Diana about the tree.

QUEEN

My daughter, I shaped you with the clay from this very river. I thank the goddesses everyday for granting you life, and for the gracious bounties they have bestowed upon us. You, the other Amazons, and I live blessed lives without terror or fear. We fought for our right to co-exist with Man's World. You must not rest on your faults, dearest Amazon, for you, can endure the mightiest falls…as we have done for centuries.

She points out the fawn, which drinks from the water across the river.

The queen brings Diana to the animal, making sure to stop short.

QUEEN

You must not approach with hostility. For trust to be earned, it must be given.

Diana slowly approaches.

She pauses, nervous.

QUEEN

For trust to be kept, it must be given with the utmost candor.

Diana proceeds with caution.

She puts out her hand.

The fawn gradually approaches.

Finally, Diana strokes the fawn's soft, brown fur.

The child looks up at her mother with joy.

The queen is proud.

Hippolyta spies her reflection in a wading pool. She is reminded of a time when she hastily and ignorantly granted trust.

Pan to – Pool of water

The pool of water transforms into a dark, muddy puddle, transporting the queen back to Ancient Greece.

INTERCUT BETWEEN MONTAGE AND DIANA W/FAWN

MONTAGE

1. _Gray. Out of the fog rages a fierce battle. Rain pours on bodies and shields. A man sitting atop a black horse rides into the night, lighting an ancient city ablaze. A mother cries out for her child. Her shrieks echo, turning into thunder, piercing the air. The clash of metal sparks fire, illuminating faces of blood and sweat. Flesh is burned. Bones are broken. Blood stains the battlefield. The Amazons battle the Greeks. _

_The queen kills another soldier. Then, she turns to Heracles dressed in his lion skin. Selfish, self-possessed Heracles fooled ignorant, overconfident Hippolyta, stealing her magical girdle. _

_HIPPOLYTA_

_Yield, Heracles. The bloodshed must end. Ares has poisoned you, and made my people his slaves. He has fooled all of us. _

_HERACLES_

_No, Hippolyta. Only you. _

_They battle._

QUEEN

(voiceover)

_*Since the time of our creation at the hands of the gods, we Amazons have had to struggle for our place in Man's often savage world._

Now friends, Diana and the fawn race around the island.

_2. The Amazons arrive in Paradise Island on a large ship. Hippolyta wears the girdle once again. As they unload, one Amazon carries a vase with a painting of the legendary Amazon battle. The Amazons begin to build their civilization. An ivory city takes shape. As time progresses, the Amazons paint the city in an array of colors and decorate it with statues, reliefs, and paintings. _

QUEEN

(voiceover)

_*Weary of constant warfare, we beseeched our patron goddess for a sanctuary. The will of gentle Aphrodite guided us away from the battlefields to the shores of Paradise Island._

SMASH CUT – Diana (13) and the fawn, both a little bit wiser, continue to run. The regal queen walks down a busy market place. An Amazon uses the vase previously mentioned.

3. The Amazons experience daily island life. They dress in vibrant-colored garb. Io tinkers with the use of invisible weaponry. Menalippe lectures at an amphitheater. Phillipus trains in the courtyard. Callisto reads under an ancient tree.

QUEEN

(voiceover)

_*Now free to develop our minds as well as our bodies, we created Themyscira, a refuge of spiritual and intellectual tranquility, with technological advances that far surpass those of the mortal world. You are an Amazon, but you are different from the rest of us because you have not experienced the coldness of war. However, your differences make you more open to new ideas. You are just beginning. This is the beginning._

DIANA (16) is now a curious adventurer. She pushes a boulder up a hill as she deflects an arrow shot by Phillipus. She jumps nimbly from rock to rock, outrunning the deer that once evaded her.

A mother smiles.

EXT. FOREST – AFTERNOON

INTERCUT BETWEEN RUNNING AND CONVERSATION

CUT TO:

DIANA (25) runs.

DIANA

(voiceover)

Is it possible for Man's war to reach our shores?

Fast.

QUEEN

(voiceover)

Our island is protected by the gods, so it is highly unlikely.

And faster.

DIANA

(voiceover)

But possible?

The queen smiles with great confidence.

QUEEN

And so is our victory.

Diana swiftly runs through the forest as she had done as a child.

Her feet barely touch the ground, almost in flight.

Suddenly, Diana halts before the edge of a tall, rocky cliff.

She takes in the majesty of the island before her and the surrounds of the resplendent city, looming atop the breezy seaside.

Paradise.

Diana is rejuvenated.

A breeze flows through the plants—moly, a magical herb with black roots and white blossoms; they touch her feet, urging her to pick them.

Diana is wearing a red toga—a prediction to the future.

A woman slowly jogs to Diana's side.

RENA

Diana! Hermes has truly blessed you with his swiftness.

RENA (28) is out of breath.

Diana smiles.

DIANA

This is paradise. But what is beyond our shores?

She looks to Rena with wishful eyes.

RENA

(cynically)

You know what is there…

DIANA

I know what I am told.

RENA

There is nothing but war, pollution…

Diana has heard this all before.

RENA (CONT'D)

A plane?

DIANA

A plane?

Diana turns toward the sky observing a jet whirling down and crashing onto the beach.

She darts forward—instinctually.

RENA

(panicked)

Diana!

DIANA

(diplomatically)

Rena, alert the infirmary. I will check for survivors.

RENA

Yes, Princess.

Diana leaps off the cliff.

She lands in the beach.

Sunken into the yellow sand is The Albatross—a fighter jet belonging to the US Air Force.

A well-built man with dark blond hair is trapped under the wrecked plane and covered in dirt and bruises.

He is unconscious, but she finds his breath and pulse.

She touches his chest—a rush of emotion overwhelms her.

She searches for an indication of his identity. His dog tag reads CAPTAIN STEVE ROCKWELL TREVOR (35), US Air Force Special Intelligence officer.

INT. INFIRMARY – EVENING

The Amazon infirmary, like many other Themyscirian buildings, is elegant. Tall, white, marble columns form the temple structure. Colorful drawings and reliefs compose friezes. Long, billowing drapes flow in the wind.

MENALIPPE

(forcefully)

You should not have brought him. You know the rules, Diana. Men are not allowed on the island.

Menalippe has not aged, but her eyes reveal old wisdom.

MENALIPPE

Callisto, please take this message to the queen.

She hands the note.

DIANA

So you would have him engulfed by the sea. He is wounded! If it had been I in Man's World, would you not want someone to help me?

CALLISTO

(honestly)

It is different. Not all people in Man's World share your compassion.

DIANA

Then all the better I rise above societal indifference. Is that not a characteristic of sisterhood? Is that not what I have been taught?

Diana lingers about, sifting through herbal medicines, medicinal vessel, and medical journals, used rarely out of necessity but thoroughly for study. She has become familiar with these items.

MENALIPPE

We have purpose to these rules, Diana. It is the reason we have prospered this long.

DIANA

It is the reason we have remained isolated.

MENALIPPE

Io has checked the wreckage for any malicious intent toward our people. Luckily, none was found. However, we can be certain by the amount of damage to the ship that his crash was not an accident.

Diana walks to Steve's bedside, making sure not to touch him. She curiously observes him.

MENALIPPE

This is the first man you have ever seen. For now he is docile because he is asleep. Maybe he is one of the few who are decent. But is not the destruction of his ship proof enough of man's viciousness?

DIANA

If I could speak to him?

MENALIPPE

That is out of the question. The queen would not be happy.

DIANA

(sincerely, seriously)

Emotion, happy or otherwise, makes us human. Look close enough and you will see there is beauty in all humanity. I am sure my mother will appreciate my compassion since you claim there is a shortage among this earth.

MENALIPPE

The queen will not tolerate your foolishness either.

Diana is torn between her duty and her heart.


	4. Chapter 4

INT. THEATER - SUNSET

Queen Hippolyta stands upon a stage, while the Amazons listen attentively.

QUEEN

(voiceover)

As time moves forward, our island remains untouched, but the outside world has drastically changed.

Montage:

1. Queen Hippolyta stands before a tall, silver mirror—the window into Man's World. A floating magical sphere is birthed; inside the sphere are vaporous images of war and violence—from Heracles to modern day. An image most disturbing is of a shadowy figure approaching a terrified young girl about Diana's age.

QUEEN

(voiceover)

The man who crashed on our island is a warning. There is a war running feverishly in Man's World.

2. Glimpses of Man's World throughout the last century, including World War II, the use of nuclear bombs, and third-world nations (i.e. Africa).

QUEEN (CONT'D)

(voiceover, grim)

Murder…theft…rape…abuse… Man has even developed the technology to wipe out entire civilizations within a matter of days. I have been asked by the Gods to find a champion to send the man back to his world…and to prevent their war from coming to our shores.

3. Diana in daily life, including warrior training.

QUEEN (CONT'D)

She will become our emissary. She must have the determination to face great obstacles. She must do this with both strength and understanding. Amazons, prepare.

The queen bows her head to Phillipus who gives further instruction.

PHILLIPUS

As we did in ancient times, we will hold a contest to determine our champion. Tomorrow.

The Amazons look to Queen Hippolyta, General Phillipus, Menalippe, Callisto, and the other members of the council for strength.

The Amazons kneel and bow their heads in respect.

IO

Does this mean your vision is coming true?

MENALIPPE

For all our sakes, Sister, I hope not.

Phillipus stands beside Hippolyta's side to whisper.

PHLLIPUS

Diana will want to enter the competition.

Diana is in the crowd kneeling with the other Amazons.

QUEEN

(whispers)

She knows that I would never allow her to leave the island.

Phillipus nods in agreement, and then moves to lead the crowd of Amazons into training.

As she leaves, Menalippe remarks to herself.

MENALIPPE

That will not stop her. Nothing can stop her.

Diana remains at the amphitheater.

Hipployta remains on the stage.

Diana rises slowly.

She looks at her mother with telling eyes.

Hippolyta hesitates but instantly recovers, removing all worry from her face.

Diana turns away, silent.

She walks to the infirmary.

EXT. CITY CENTER -- AFTERNOON

Io examines the foreign machine before her—Steve Trevor's plane, or at least what she could salvage. The mechanisms are simple enough to understand. She tinkers.

IO

I saw one of these contraptions through the mirror. I did not think I would work on one.

Callisto is tending to the fields, harvesting the wheat.

Menalippe converses with others by a fountain.

Diana spares with Rena.

Their sticks beat like drums.

DIANA

You dance to an old tune, Sister.

RENA

You anticipate too early.

Diana has gained the advantage.

Phillipus excuses Rena to spar with Diana.

Diana is caught by surprise.

Rena bows to Phillipus in acknowledgement, and then apologetically to Diana to exit.

Diana keeps her head low, smiling.

PHILLIPUS

Do you know something I do not?

DIANA

No. You, as well as I, know that you will be humbled by sword.

PHILLIPUS

Never.

DIANA

You may be surprised; I have an amazing combat instructor.

PHILLIPUS

(playfully)

Diana, I will be humbled neither by your sword nor your flattery.

Diana strikes.

PHILLIPUS

You are green, still. You move like a manual, not by reflex.

Diana grows frustrated.

DIANA

I will always lack necessary experience unless given the opportunity.

Phillipus defends.

PHILLIPUS

You need to treat this as if you were defending your life.

DIANA

I cannot truly harm you, Sister. You are my family, my heart.

PHILLIPUS

If it came down to you or me?

DIANA

I do not think I could choose.

PHILLIPUS

Diana, I have trained you to become a powerful warrior. Menalippe has taught you of nature. Io of mechanics. Although we wish you will make good choices, we cannot make them for you.

Diana fumbles.

PHILLIPUS

Youngest Amazon, whatever path you follow, know that we will all support you. However, you must promise to make choices not for a man, not for your teachers… but for yourself. Although we may guide you, you are the sole determinant of your life.

The general stands tall against the fallen Amazon.

PHILLIPUS

I was in love with a man, and I have the scars to prove it. Diana, promise me you will not fight for him.

Diana fails.

DIANA

If I say yes, will you promise not to tell Rena that you beat me?

PHILLIPUS

(playfully)

Of course not; only if she asks.

INT. Infirmary – EVENING

EXTREME CLOSE UP

Diana stands at the doorway, building the courage to enter.

DIANA

This place is beautiful.

Diana pauses to reassess her statement.

She slowly draws forward, but makes sure not to move too close.

DIANA

Although, sometimes I wonder what else is out there. My mother speaks about the horrible injustices that plague your world—truly evident by the sight of your ship. I have never been beyond these shores. I was not present when my mother battled Heracles, nor the fall of Troy. However, once, without my mother's knowledge, I peeked into the mirror that holds the window to your world. I saw atrocities, but I also saw something else.

Images of the past flood Diana's head, some she wishes to forget and others she never will.

DIANA (CONT'D)

Looking at you, I do not see the terror my mother sees; I only see humanity. I suppose what my mother fears most is humanity's unpredictability, but it is that same randomness that makes life wonderful. Looking at you, I would imagine that men are like children, like gods, like geniuses, and like fools. They are all things. There are many thoughts I struggle over. However, one thing is certain: it is not fair that I live in paradise while others live in turmoil.

Diana looks at Steve, hoping for a response that she knows will not be given.

Then she spies her reflection in her silver bracelets; she is reminded of her mother and her sisters.

Diana looks about the infirmary, reassessing her initial statement.

Then, she looks at Steve.

DIANA (CONT'D)

Farewell.

Diana exits.

EXT. COLISEUM – DAY BREAK

A woman puts a dusty helmet over her head.

QUEEN

Where is Diana?

RENA

I believe she is enjoying the sand and sun.

The ground in the arena is sandy, and the wind is unusually strong, so the earth picks up more than usual.

Hundreds of Amazons wear similar yet identifiably distinct helmets.

Their skin displays various ethnic traits to mirror the vastness of the Greek World.

The Queen and her council are dressed in ceremonial garb.

The Queen stands with her crown high.

QUEEN

Today, you will embark on a contest from the Gods to determine the champion who will save our heritage. It is neither the strength of your armor nor the sharpness of your blades that brings victory; it is you. Begin!

SERIES OF SHOTS - COMPETITION

1. Track

2. Javelin

3. Weight lift

4. Wrestling

5. Spar/Sword match

_BEAT ATTACK!_

Sparing is the prominent competition; it is a test of both strength and skill. Each Amazon must use sparring sticks, and then swords after the sticks are broken. The winners must be agile and have a good understanding of defensive weaponry.

As Amazons begin to lose, they fall to the floor, but all are good sports; the contest is viewed as friendly competition.

The battle ends with two warriors. Although they are both excellent contestants, one appears self-assured, while the other appears as the proverbial underdog with more passion than wisdom.

The crowd shouts in praise for the accomplishments of both Amazons.

As the two Amazons anxiously await opposite each other, Callisto solemnly brings out a pistol.

The roar dies.

Although the Amazons pride themselves with their vast range of weaponry, the pistol is foreign. It was kept to remind the warriors of the violence in Man's World, which has become frequent and automated.

To shoot with a gun is about the kill, but its defense is about the skill.

PHILLIPUS

This weapon is the only part of Man's World that has survived on this island. It washed upon our shores by accident, and we have kept it because like our bracelets it reminds us of our goals to live peacefully… that choice is our most powerful weapon… to learn from our past in ensuring our future… …We are free from the Grecians who enslaved us… To remain proficient, we must acknowledge every facet of danger to remind us to rise against it. Our final competition is bullets and bracelets. Fight with honor.

The first Amazon wearily picks up the pistol.

She slowly aims toward her opponent, and fires five shots.

BAM, BAM, BLING, BLING, BAM—each bullet is deflected.

Next, it is her sister's turn.

The Amazon repeats the process, but with her last shot, her opponent is grazed.

Her feet slide across the dusty floor, and she grabs her arm in agony.

A doctor promptly assists her.

Diana ascends the steps to the throne, and kneels before the queen.

QUEEN

Great Amazon, now that you have won, please reveal yourself so that we may praise you.

Diana stands, and removes her helmet.

She looks to her mother, silent.

Hipployta grabs her chest in pain, but finds the strength to raise her head in dignity.

QUEEN

(solemnly)

I would be lying if I said I approved of this. The task you have chosen is the most difficult sacrifice any person can make. You are our child—foolish, strong-willed, passionate, and brave. Diana, you are a most noble warrior. I do not think any one of us could bare your absence, but I could not have expected any less from my own daughter. We have found our champion!

The Amazons cheer.

Phillipus and Menalippe smile.

QUEEN

Your task will not be easy. You will not only bring the man back to foreign shores, you must prevent Man's war from coming to our island. Your mission will encompass all that we have taught you and new trials that will challenge your tolerance. As is custom of our emissary, you will don armor representative of his country as a sign of respect—armor that will allow you to move with ease and agility.

Hippolyta walks to Diana and gently strokes her hair.

She looks into her daughters eyes—sad that she will leave, but proud of her strength. The Queen must soldier on, but becomes glassy eyed.

QUEEN (CONT'D)

I release you to the dangers and uncertainty of Man's World. Remember who you are. Remember, I love you.

FLASH FORWARD: Diana walks up temple steps. Before her is the chryselephantine of Athena. The immense gold and ivory statue holds a spear in one hand and Hermes in the other. Diana prays to Athena to grant her wisdom.

DIANA

(Instinctively)

I love you, too, Mother.

Diana glances at Phillipus with a look to melt her stoic façade.

FLASH FORWARD: Diana receives her battle armor.

MENALIPPE

Steve Trevor will lead you to the forces you must stop, marked by a path of destruction. However, you must be wary, for you are a stranger to them.

DIANA

My journey will be arduous, but I will never allow its difficulty deter me from my mission. I made _my_ choice, and I will take with me everything I have learned from my sisters. For Themyscira! For the Amazons! For my family.

Diana turns to her fellow Amazons. She bows as a sign of respect.

The Amazons rejoice.

Diana looks to Phillipus.

DIANA

Everything is going to change, isn't it?

PHILLIPUS

It already has.


	5. Chapter 5

INT. – WASHINGTON DC HOSPITAL – COLD MORNING

The hospital is sterile, white. The machines resonate in a symphony of mechanical rhythms.

Steve Trevor lies in a warm hospital bed.

Diana stands at his bedside, silently marveling at this place and this man.

Steve slowly awakens to see a glimpse of her face.

He breathes one word.

STEVE

Angel.

He smiles.

She tries.

He fights to stay awake.

She fights to leave.

He shuts his eyes.

_SWOOSH_ - a rush of air cools his face.

He opens his eyes.

She is gone.

He is overwhelmed with sleep.

She is overwhelmed.

INT. LUXURIOUS CITY APARTMENT - AFTERNOON

A television is turned on.

A female news reporter (30) covers an important story.

REPORTER

Breaking News: Captain Steve Trevor was rescued today. The national hero is not speaking to the media. However, sources reveal…

BARBARA

Turn that off, Jacoby.

DR. JACOBY SERA (35) is a handsome man, full of intelligence as he is of himself.

He huffs at Barbara's request, but complies with his dismay.

DR. BARBARA MINERVA (35) is used to having her way. Minerva considers herself a woman of elegance and aptitude. Minerva is an archaeologist, known more famously for her family's long history in philanthropy and collection of rare artifacts. She has found a special interest in anthropology.

Ambitious, selfish and severely neurotic, Barbara was raised by servants, since her parents spent most of their time hunting exotic game.

Minerva fusses with her long brown hair in the mirror.

She inherited a vast fortune after her parents were tragically killed in a car accident. The tragedy only made her stronger.

JACOBY

After months of traveling, it would be nice to catch up on local news.

BARBARA

Egypt, Turkey …

JACOBY

Sudan, Ethiopia …

BARBARA

You've traveled great distances, making historical discoveries that could very well change the course of archaeology, but all you want to do is watch the local news.

Barbara looks at Jacoby with an air of slyness.

JACOBY

The local news is a reflection of today's society.

She guffs.

BARBARA

A censored one.

She digs through her briefcase.

BARBARA

Well, maybe you can catch up when there aren't a million things to do. The museum opening is in three weeks, and I would appreciate it if we could open on schedule.

Barbara looks at Jacoby seriously. Dr. Minerva and Dr. Sera have just returned from an expedition in Africa. Jacoby will feature their findings—a vast collection of African artifacts—in the Washington DC Museum of Anthropology.

BARBARA

(sarcastically)

Don't I pay you to curate a museum?

Barbara smiles and Jacoby replies with one of his own.

JACOBY

Is that all you think about? Work?

Barbara plays with Jacoby's collar—luring his trust.

Barbara

It's not work; it's an adventure. That box is not what the world is. The world is out there, where I prefer to be.

JACOBY

You want the world?

BARBARA

Doesn't everyone?

Barbara hands Jacoby a file with a name.

INT. BANK - AFTERNOON

Even in this modern city, the First National Bank, a classical Greek revival, is a reminder of her home.

The pointed gun, however, is a stark contrast; its mouth kisses the skin of a sweating brow.

An ugly MAN (35) with a disgruntled face, a.k.a. THE THIEF, has taken a clerk hostage, while his accomplices empty out the vault.

CLERK

(terrified)

Please.

The clerk cries as the man digs the gun into his skin.

THIEF

Politeness, I appreciate that, but politeness didn't help me when this bank foreclosed my house. I want you to feel what I felt. Your heart's gonna break, and maybe your face, too.

VOICE

(from b.g.)

Let him go.

The Man keeps his eyes on the clerk.

THIEF

If you knew what was good for you, you would've left while you had the chance.

He turns and shoots.

INTERCUT BETWEEN THE MAN WITH THE GUN AND THE MAN AT THE VAULT

INT. VAULT

The thief's accomplice is unlocking a vault.

The vault opens.

He fills his bag with cash, sloppily.

He loots a few storage boxes.

He grabs a worn out journal.

INT. BANK LOBBY

The bullet reflects off of a silver bracelet.

Diana stands before him, dressed in the armor she was bestowed: a scarlet red bodice with gold chest armor to protect her heart; a blue star-spangled skirt for free movement; a gold belt—with the powers of her mother's girdle; a tiara with a ruby star at the center to represent her royal lineage; and silver bracelets to remind her that the road to justice is never easy.

The man looks at her, stunned before her presence.

The man's eight other accomplices are on the floor unconscious.

DIANA

My first couple weeks here have been most peculiar. I have stopped assault, arson, and thievery. Even though I expected it, I am still surprised by its abundance. You threaten a life, your brother—placing more value upon green pieces of paper?

The Man lifts his gun.

DIANA

I asked you nicely. Now, if you know what is good for you, _you_ will leave.

The Man frowns.

_BANG!_

Diana deflects the bullet.

_ZIP! ZAP! ZOP!_

The Man continues to fire but Diana makes her way to him, deflecting each bullet like a bulldozer clearing a path.

The gun's magazine runs out.

Diana pauses, giving him chance to surrender.

DIANA

Because you are willing to take a life without fear or consequence, you are cruel. Because you do so without knowing your opponent, you are careless.

The Man, out of fear and confusion, stumbles away, while keeping his eyes glued to Diana.

He trips against a wall.

Diana stands above him.

The man raises his arm, about to throw the gun at her.

Diana grabs him with one hand, grabs the gun in the other.

Her hand closes like a steel clamp about the bandit's wrist.

As she hurls him across the room, she smashes the gun to pieces.

She walks to him, ready to dish out more.

An accomplice wakes, and runs out the front door.

He gets into his car.

The car does not move; Diana is holding the back of the car with one hand.

Wonder Woman draws a crowd of people.

Out of the corner of her eye, Diana notices the man from the vault run away in the other direction.

In a moment of distraction, Diana lets go of the car.

The thief speeds off.

Diana notices that he is about to crash into a large group of people, so she dashes in front of the car and smashes its front. Her skirt is torn.

The robber is projected into the air.

As the robber falls, he is caught, his face an inch from the ground. Diana is holding him by his ankle.

Then, she lets go, and the robber drops to the floor.

He looks up, expecting to see the mysterious woman with strange powers.

Instead, he sees a POLICEWOMAN (30).

He is handcuffed from behind.

News reporters run to Diana, flashing cameras and shoving microphones in her face. She is fearful.

The policewoman looks back to find the hero, but Diana is missing. She evades the media.

The police woman begins to recite the Miranda warning.


	6. Chapter 6

INT. HOSPITAL ROOM - EVENING

REPORTER

Today a group of thieves were stopped by a mysterious woman. The woman saved at least a hundred people, including bank clerk, Giles Gilroy, who we will interview tomorrow morning. Many locals are praising the woman. But the question remains: Who is this Wonder Woman?

Steve strokes the bandage on his forehead, tracing its pattern as he rubs his temples.

He has been ordered to spend an extra day at the hospital for observation. He is eager to leave, to find out what happened to him.

He sits in bed, watching the news—the events he has missed during his absence.

Foggy memories resurface.

Steve is transported back to his cockpit.

The gas tank was leaking.

He tried to break open the window, and broke his wrist.

Fire consumed his plane.

Hot metal flight instruments pierced his skin.

As the plane came to its descent, sand and dirt devoured him.

Half-buried in sand and shrapnel, he glances at paradise.

A cloudy image of Wonder Woman flashes on the television screen.

Steve's ears fail.

His pupils dilate.

He remembers a face.

She held him close.

She ran through the forest with great swiftness.

For a moment, she glances at him. Her gaze is a consommé of emotion: confusion, fear, but most of all, hope.

DOCTOR

(b.g. noise)

Captain Trevor.

The doctor's voice is like a fading echo.

Steve's senses adjust slowly.

DOCTOR

(patiently)

Captain Trevor, you say you have no recollection of how you returned to Washington?

The doctor's voice bangs in Steve's ears.

Steve ignores the doctor's question, welcoming the pain.

Steve raises the volume.

Etta Candy (30), a stout red-head Special Investigations lieutenant of the US Air Force walks in. She is Steve Trevor's best friend and colleague.

Etta excuses the doctor.

ETTA

(relieved)

Steve, you're okay.

She places a vase of flowers on a table, and then sits by Steve's bedside.

Steve does not know how to handle himself, so he sits still. He is embarrassed to be in his condition, especially with her.

He turns off the television set, but does not eye his friend.

STEVE

There were complications with my plane, Etta. The fuel line was damaged, and my signal was jammed. I never meet with Doctor Maru.

Etta tucks a curly red lock of hair behind her ear.

ETTA

I was going to ask you how you were feeling, but I should know by now that Steve Trevor never likes to leave things unfinished.

Steve does not know what to say.

ETTA

While you were gone you were cordially invited to a well-to-do gallery opening. I RSVPed for you. I thought I'd be your plus one.

Etta hands Steve the invitation.

Steve had known Etta for years. Although they never dated, they knew each other like husband and wife.

STEVE

You're hiding something from me.

ETTA

Dr. Maru went missing several days ago. Steve, thieves robbed First National today. As of yet, no one suspects conspiracy, however, one of the items stolen was confirmed to be Dr. Maru's medical journal.

Steve becomes silent.

ETTA

I am doing investigative work later today. We're still conducting interviews, but we have nine suspects in custody thanks to Wonder Woman.

He stares blankly into the distance.

ETTA

Don't. This is not your fault. Whoever's behind this is playing a game. What we need to do now is figure out what the next move will be.

He looks at Etta, apologetically.

She grabs his hand.

STEVE

Got it covered.

INT. BARBARA'S APARTMENT – EARLY MORNING

Etta Candy grew up in a modest background. She is out of place in the shiny hotel elevator of the Grand Regent. She is visiting Barbara Minerva—a woman of pedigree and privilege.

_DING_ – The Penthouse Suite.

TAMSYN MCCONNELL (45) is Scotsman with a mustache and heavy build. He walks into the elevator as Etta Candy exits, adjusting his glasses.

The pair notices each other, but do not acknowledge the other's presence.

Barbara Minerva opens her door, observing the Air Force Officer who just rang the door bell.

ETTA

Ms. Minerva?

BARBARA

Yes?

ETTA

I'm Lieutenant Candy with the Special Investigation Department of the United States Air Force. I called you earlier about an interview.

BARBARA

Come in.

Barbara walks with uneasiness.

ETTA

Thank you.

Etta sits on a clean, white chair.

CHUMA

May I get you sum ting? An herbal tea, perhaps?

ETTA

No, thank you.

BARBARA

The tea strengthens the immune system. I'm a tad weak from working all day.

ETTA

You mean all year? I'm a fan. Your article on the Darfur was truly moving.

BARBARA

I appreciate it.

Barbara sips the tea.

ETTA

Now to business. Do you know anyone who would steal your bank box?

BARBARA (CONT'D)

I do not know why anyone would find the box useful. I have a lot of money. Comparatively, that box was nothing.

ETTA

Could you disclose the contents?

BARBARA

Memoirs, old photographs…my parents' things.

ETTA

Nothing of monetary value? Do you know anyone who would find the contents of significance?

BARBARA

I haven't seen it in years, or for that matter, cared.

Etta jots notes in her notepad.

ETTA

I see.

BARBARA

You sound disappointed. I've disappointed enough people to understand the signs.

ETTA

I'm not--

BARABARA

I apologize, Lieutenant. I've always been good at ruining a perfectly content moment.

Etta holds back.

BARBARA

I guess it all really depends on your definition of content.

Barbara walks to her mantle, gazes at the photograph of her parents at a hunting trip. Their faces are stagnant.

ETTA

We'll try our best to recover your items. Thank you for your cooperation.

BARBARA

No need. I'm sure your time is better served elsewhere.

ETTA

Are you sure?

BARBARA

(sternly)

Yes. I have dedicated my life to studying human behavior and collecting human remnants of the past. However, the one thing I can never have is the truth that comes from living, being, truly knowing people. In comparison, the secular possessions human beings most covet do not mean anything without the people who covet them.

Etta observes Barbara with more openness.

Barbara fiddles with a bracelet made by a child.

Etta is quickly drawn back to her senses.

ETTA

It's cute.

BARBARA

When I was ten I was furious with my younger sister. My parents always compared us. You see, she was smarter, funnier, prettier, and had more potential. For Christmas, my parents bought her the doll that I had wanted for months. I was furious. I ran to my room, crying. My sister offered me the doll, but I refused. In her second attempt to reconcile, she gave me this bracelet, and a vow that nothing would tear us apart. For that moment, I felt happy.

Etta smiles.

BARBARA

But this bracelet is not my sister.

ETTA

I guess that will be all.

Barbara gently nods her head in agreement.

Etta leaves the apartment, still suspicious.

Jacoby Sera exits the elevator door, running into Etta. He smiles at her curiously.

ETTA

You are Professor Sera, the curator for the Hearst Museum of Archaeology? I hear the new anthropological exhibit will feature a fantastic discovery of a lost tribe of Africa.

JACOBY

Yes, but it's supposed to be a secret?

ETTA

Lieutenant Etta Candy.

JACOBY

It is always nice to hear appreciation for the field. My trip to Africa was truly a unique experience. You may say, educational. What are your interests in anthropology?

ETTA

I am interested in people. I was a behavior scientist for a few years. Humans are the most fascinating creatures on this earth.

JACOBY

Indeed.

He smiles.

JACOBY

If you will pardon me, I need to see Ms. Minerva immediately.

He lifts his brief case. A shard of bark falls into Etta's purse unnoticed.

ETTA

Of course.

JACOBY

(courteously)

I'll see you at the opening.

He nods goodbye.

ETTA

Of course.

EXT. CITY ROOFTOP - NIGHT

Diana sits on a grimy rooftop, watching the streets below. The city is dense, but the noise is beginning to die down.

Diana is angry that she let the robber get away.

But her anger fades as she slowly floats into the sky high above the city. To the onlookers below, she is a dark silhouette in front of the full moon.

In Diana's mind, she is back in Paradise.

Diana soars above the white, fluffy clouds.

The air refreshes her lungs.

Her hair shines in the glorious day.

She is silhouetted by the shinning sun.

Another silhouette emerges, but of a woman in pain.

INTERCUT BETWEEN WONDER WOMAN AND MYSTERIOUS PEOPLE

INT. BARBARA'S APARTMENT

MAN'S VOICE

I am sorry, my dear, but without the last ingredients these transformations will be unpleasant, and the affects you were hoping for will not last long.

Jacoby strokes her brown hair.

Her breathe is heavy.

Her pupils dilate.

The sound of drums ascends, filling the room.

Barbara is transported back to her expedition.

She had gone to Africa to look for her sister.

During her search, a group of marauders invaded the village of a nearby tribe. Machine guns terrorized each family.

Plenty were already murdered when the marauders approached a small man named Chuma. As luck would have it, Barbara intervened, capturing most of the murderers.

Those who were able to flee had a young woman.

The priest, Chuma, the caretaker of the ancient plant god Urtzkartaga, decided to reward Barbara. In secret, Barbara learned that the tribe was an Afro-Asian nomadic group of warriors that praise the cheetah.

Barbara became the bride of the Urtzkartaga. The thirst became instinctual.

During her first transformation, she hunted the marauders, and killed them without warning.

To Barbara's dismay she discovered that the young woman she had seen earlier was not her sister, but Dr. Maru as a young, naive student--daughter of one of the gunrunners who worked with the marauders.

As Dr. Maru fled, Barbara filled the scene with a concerto of her victims' screams of horror as they were killed.

Barbara is back in her apartment, screaming, and shaking in pain as her victims had.

Chuma remains calm as he toils with offering bowls, divination trays, gourds, and Kuba lidded boxes, which are intricately carved to hold tukula—a red powder.

JACOBY

Are you ready?

BARBARA

I've always been.

With a sharp dagger, Jacoby cuts her wrist. He drips her blood into Chuma's divination bowl.

Chuma tapes her wound.

Chuma adds the rest of the sacred potion to feed the plant.

Barbara is like an addict, suffering for that momentary high of adrenaline.

Jacoby holds out a full Cheetah costume.

Whispers and chanting fill surround her.

Barbara places the Cheetah's head around hers, like a second skin.

She is bathed in the beautiful moonlight.

Her sweat glistens in its reflection.

Jacoby removes Dr. Maru's journal from his briefcase.

He searches for an herb tucked between two pages.

Chuma carries a bowl—combination of human blood and the berries and leaves of the Urzkartaga.

Jacoby drops the herb into the bowl.

Chuma grinds the mixture.

He paints her face with spots in the ancient manner.

She is preparing for war.

The drums ascend.

JACOBY

Are you sure about this?

Barbara grabs the divination bowl from Chuma, and quickly ingests the mixture.

The bowl drops.

The elixir burns like fire.

Her pulse pounds in her temples like the rhythm of drums.

She yells.

She transforms.

She licks her lips, revealing sharp teeth.

EXT. CITY ROOFTOP

Diana awakens to the night sky; she is in Washington DC once again.

The stars are burning brightly. She wonders if the stars on her costume could transform into those above.

DIANA

Artemis, give me strength.


	7. Chapter 7

INT. SMITHSONIAN

A security guard watches a portable television set. He smiles at the sight of Wonder Woman saving people in China out of a burning building and then a double Decker bus about to fall out of London Bridge. The tagline reads: Amazing Amazon.

He looks over toward the security camera where twenty CIA agents guard a mysterious treasure.

SECURITY GUARD

This thing must be big if the CIA wants a crack at it.

He says as he watches the news.

REPORTER

We have word that gunrunner and smuggler Tamsyn McConnell was found murdered.

INT. BARBARA'S APARTMENT

The hunter is awake.

_PURR_ - she seeks her prey.

She needs to quench an insatiable thirst.

EXT. CITY

Diana sits on the roof, patiently.

Diana's peace is disrupted by the sound of gunfire.

She runs to the edge of the rooftop, and then jumps off.

She lands safely on the ground.

_WOOSH_ - She zooms to the museum.

INT. SMITHSONIAN

The guards lie on the floor-either unconscious or dead.

Static roars on the television screen, toppled on the floor.

Beside the television is a blood trail.

Diana moves effortlessly, passing different galleries.

Suddenly, her legs are kicked from under.

Diana recovers quickly.

She whips her hands around her assailant, and spins her into a wall.

Lying seemingly unconscious before the princess is a beautiful woman with the golden fur, the sharp claws, and the insatiable hunger of a cheetah.

WONDER WOMAN

You are not human.

The Cheetah wakes.

CHEETAH

Neither are you.

The Cheetah pounce on Wonder Woman, pinning her down. Her long, brown hair flows comfortably behind her.

CHEETAH

Finally, a challenge.

With her razor claws, the mighty creature pierces through skin.

Wonder Woman is set aback by her fresh scars, yet remains focused.

She kicks her feet upwards, removing the Cheetah's grasps.

She back flips, getting her footing.

The Cheetah lands on her feet as well, sliding backwards to gain balance.

The Cheetah jumps, and then spin kicks.

Wonder Woman grabs her foot, and flips her over. The Cheetah makes a heavy dent in the floor.

As Wonder Woman's back is turned, the Cheetah pounces.

_BANG!_

A bullet grazes the Cheetah's face.

She growls in pain.

Steve Trevor holds a smoking gun.

The Cheetah touches her cheek.

She smiles.

She licks her own blood.

Wonder Woman motions to Steve.

WONDER WOMAN

Run!

The Cheetah rushes to Steve.

Steve shoots until his magazine runs out, missing every time.

The Cheetah pounces.

Wonder Woman throws her tiara, acting like a metal boomerang, wounding the cat, and then returning back .

Steve runs to the heroine.

STEVE

Wonder Woman.

WONDER WOMAN

Steve Trevor, you must leave immediately!

CHEETAH

Steve? Now I know what to write on your gravestone. May I call you Stevie?

WONDER WOMAN

Her powers far exceed mortal man. She must not be underestimated.

STEVE

It's my job to protect something of high importance. I can handle her.

The Cheetah hurls a heavy object at Diana, crushing her against a wall.

STEVE

What are you?

CHEETAH

Hungry.

The Cheetah pins Steve in a corner.

CHEETAH

Now, can you guest what you are?

STEVE

Unbelievably handsome.

CHEETAH

A tasty snack.

Diana lifts the object and throws it back.

WONDER WOMAN

Taste that.

Steve is impressed.

STEVE

I'm not intimidated by a strong woman.

WONDER WOMAN

How did you intend to stop her, especially with that crude weapon?

STEVE

That's easy to say when you can deflect bullets and lift really, really heavy objects.

The Cheetah knocks Steve unconscious.

CHEETAH

They depend on that, you know. We use our bodies, our minds; a significant portion of humanity depends on automated weaponry. But we both know a good weapon cannot replace your body.

Hunched and breathing heavily, the Cheetah finds her footing.

She shows her claws.

CHEETAH

I will be leaving now. You will get out of my way.

WONDER WOMAN

I am not easily deterred.

Wonder Woman carries the Cheetah in flight.

The Cheetah uses her legs to kick Wonder Woman in her jaw.

The Cheetah falls, but manages to grab hold on a tall sculpture.

She uses her claws to slowly glide down.

The Cheetah finds the case that holds an ancient Greek pyxis.

Wonder Woman lands opposite to the Cheetah.

WONDER WOMAN

What do you want?

CHEETAH

Right now, your blood. But I'll settle for this.

The Cheetah steals a pyxis.

They wrestle.

The Cheetah knocks over a tall column which is about to fall on Steve.

Steve wakes to see the column about to fall.

Wonder Woman rushes to Steve, carrying him out of the way.

WONDER WOMAN

I have you.

The Cheetah is wounded, but manages to escape.

STEVE

Wonder Woman?

WONDER WOMAN

The Cheetah is gone.

Wonder Woman applies pressure to Steve's wounds.

WONDER WOMAN

We must call for…I believe you call them paramedics.

STEVE

You brought me back to DC.

WONDER WOMAN

Yes.

STEVE

And left without a word?

WONDER WOMAN

I brought you back unharmed. But have remained on this land to fight a foreseen threat to my home. I observed that my actions have garnered media attention, so I am resolved to stay at a distance. But there is a link with you to this danger, and I fear to the Cheetah as well.

STEVE

The room is spinning.

WONDER WOMAN

You were knocked pretty hard.

STEVE

It was like a dream—the island. Beautiful.

WONDER WOMAN

You remember?

Diana realizes that Steve recalls her words—the words she entrusted upon his sleeping soul.

STEVE

Everything.

Sirens echo in the background.

STEVE

Back-up's here.

WONDER WOMAN

I must go.

STEVE

You have the muscle. I have the resources. We should work together.

WONDER WOMAN

(confidently)

We will.

Steve turns to watch as back up enters.

He turns back to see that Wonder Woman has disappeared.

INT. BARBARA'S APARTMENT - MORNING

Barbara is sitting at her vanity mirror.

She puts on lotion.

She stares unsatisfied with her face.

She is comforted by Jacoby.

BARBARA

I got it.

JACOBY

No, you've only got half.

BARBARA

What do you mean?

JACOBY

The lid is missing. The object is useless without it.

BARBARA

It's a stupid lid. I must have left it behind. Trevor might have it.

JACOBY

Or Wonder Woman.

BARBARA

I'll find a way to get it back.

JACOBY

You'll get it back on your next hunt.

Jacoby steps out.

Barbara stares at the mirror, dissatisfied.

INT. AFRICAN MANSION BEDROOM

BARBARA (12) is a child once more.

LYDIA (10) is a small child with big eyes.

She is at a beautiful mansion in Africa—her parents vacation home.

PRISCILLA RICH-MINERVA (35) is a frantic woman. Her life didn't turn up the way she expected.

Caught up by nerves, she packs.

BARBARA

Mum, are we going on an expedition like you and papa?

Priscilla buttons little Barbara's coat.

PRISCILLA

Yes, Darling. Grab Lydia's hand. Hold on to her tight, and don't let her out of your sight. I need you to be silent. Can you do that for me?

Barbara nods, nervously.

RICHARD MINERVA (35), Barbara's father, is pompous.

RICHARD

Barbara, Lydia, go to your rooms.

Priscilla looks at her children apologetically.

Lydia proceeds, but Barbara waits by the door. She peeks through the cracks.

RICHARD

What do you think you're doing?

Priscilla is mute. She does not look at him.

Richard calms himself.

RICHARD

Priscilla, be reasonable.

PRISCILLA

Leave me alone. Don't you dare strike me again.

RICHARD

You are _my_ wife.

PRISCILLA

You are a liar. When Carlo died, you left out a lot of facts. I am sick, Richard.

RICHARD

Look at yourself, you are disgusting. You can't take my children!

Priscilla runs.

PRISCILLA

Children, run to the car.

The women drive away.

Richard chases them on another car.

Priscilla drives into her husband.

The cars careen off a cliff, flipping over as it does so.

INT. HOSPITAL

Little Barbara lies in a cold hospital bed. Both of her parents had died during the crash.

Her sister's body was never recovered. Her maid tells her that the lost Urtzkartaga tribe had taken her—raising the child as their own.

The newspapers reported a different story, to save the family name.

She throws a tantrum, throwing a glass against a wall.

INT. BARBARA'S APARTMENT

A glass breaks, shattering in Barbara's hand. She breaks.

JACOBY

Darling, what happened to you?

Jacoby examines her hand.

JACOBY

It should heal again during your next transformation. You should not let defeats phase you.

The two get into a heated argument, but make up at the end.

The pair kiss.

BARBARA

Did you find her yet?

JACOBY

I'm close—I can feel it.

BARBARA

And how is our guest faring it out? See that she get's her journal back. I don't want to be rude.

INT. PENTAGON – DAY

The reflection of the computer screen tints the face of an exhausted Steve Trevor, reading the lastest newspaper clippings.

Etta Candy sits quietly beside Steve.

ETTA

Still got everything covered?

She slips Steve a cup of coffee.

STEVE

I can handle it.

ETTA

They say the first sign is denial.

Steve sips his coffee, silently.

ETTA

Look, I know you are never one to ask for help, but sometimes that's all you need to do. C'mon, I can help you. Let's say this together: Etta, I need your help.

STEVE

Etta.

ETTA

Yes?

STEVE

I need.

ETTA

Yes?

STEVE

To know where you got this coffee from. It's really good.

ETTA

You're a jerk.

STEVE

A lovable jerk.

ETTA

Who said I loved you?

GENERAL WALKER, head of Special Intelligence, commands the room.

GENERAL

If you two are done with your pillow talk, maybe we can discuss last night's stupidity.

STEVE

General. I take full responsibility.

Steve and Etta sit upright.

GENERAL

Those who survived described her as a cheetah with superhuman ability.

STEVE

Wonder Woman saved them, Sir; she saved me.

GENERAL

Yes, but who is she? Where does she come from? We haven't decided whether Wonder Woman is a hero or another vigilante.

VOICE

Maybe she's neither.

A tall, raven-haired woman wearing round-framed glasses and a dark suit places her briefcase on the table.

GENERAL (CONT'D)

Diana! Glad you're here. Captain Trevor, this is your new associate—CIA Agent Diana Prince. She's come back from a mission trip to help you catch the Cheetah.


End file.
